Walt Disney Animation Studios
thumbLes Walt Disney Animation Studios (anciennement connu sous le nom de Walt Disney Feature Animation), est le nom des studios d'animation phares de la Walt Disney Company. Historique 1923-1928: Origines & Premières années Kansas City, dans le Missouri, lieu natif de Walt Disney et de Roy Oliver Disney où il fondent le studio Disney Cartoon Brothers à Los Angeles en 1923, la production d'une série de courts métrages muets Alice Comedies comportant un live-action actrice enfant dans un monde animé. Le Alice Comedies ont été distribués par Winkler Photos de Margaret J. Winkler, qui plus tard a également distribué une deuxième série de court-métrage de Disney, le tout animé Oswald le lapin chanceux, en commençant en 1927 par Universal Pictures. Après la valeur de Oswalds de la première année, Walt Disney est allé à New York pour renouveler son contrat avec Winkler photos, mais Charles Mintz, qui avait repris l'entreprise après avoir épousé Margaret Winkler, a tenté de forcer Disney à accepter une avance inférieure par court. Disney a refusé, et Mintz a commencé à mettre en place son propre studio d'animation pour produire des dessins animés Oswald, après avoir signé la majorité du personnel de Disney à venir sous emploi Mintz 'après le contrat de Disney a été fait. Travailler en secret tandis que le reste du personnel a terminé la Oswalds restant sur contrat, Disney et sa tête animateur Ub Iwerks a mené une petite poignée de membres du personnel dans la production de dessins animés avec un nouveau personnage du nom de Mickey Mouse reste. Les deux premiers dessins animés de Mickey Mouse, Plane Crazy et The Galloping Gaucho, faites ipressions bénins lors de la prévisualisation dans les engagements limités au cours de l'été 1928. Pour la troisième bande dessinée Mickey, cependant, Disney ont collaboré avec le musicien Carl Stalling et homme d'affaires Pat Powers (homme d'affaires, qui a fourni Disney avec son processus de contrebande "Cinephone" sound-on-film. Par la suite, le troisième court-métrage de Mickey Mouse, Steamboat Willie, est devenu le premier dessin animé de Disney avec son synchronisé, et a été un grand succès lors de sa Novembre 1928 débuts au 57e Theatre West à New York. Les Mickeys antérieures avaient bandes sonores créés pour eux aussi, et tous les Mickeys futures ont été produites dans le son. La série Mickey Mouse, distribué par puissances par Celebrity Productions, est rapidement devenu la série de bande dessinée la plus populaire aux États-Unis. 1929-1934 : Court-métrages sonores & Blanche-Neige La seconde série animée sonore Disney, Silly Symphonies, a débuté en 1929 par l'épisode The Skeleton Dance. Chaque Silly Symphony un dessin animé centré autour de la musique ou d'un thème particulier. En 1930, disputes over finances between Disney and Powers led to Disney's studio, reincoporated the year before as Walt Disney Productions, signing a new distribution contract with Columbia Pictures, and Powers signing away Ub Iwerks, who bean producing cartoons at his own studio. Columbia distributed Disney's shorts for two years before Walt Disney began production on his first feature-legnth animated film in 1934. Despite derision from most of the film industry, who dubbed the production "Disney's Folly", Disney proceeded undaunted into the production of Snow White and the Seven Dwarfs, which would become the first animated feature in English and Technicolor. Considerable training, and development went into the production of Snow White, with Silly Symphonies such as The Goddess of Spring (1934) and The Old Mill serving as experimetation grounds for new techniques, including the animation of realistic human figures, special effects animation, and the use of multiplane camera, an invention which split animation artwork layers into severla planes, allowing the camera to appear to move dimensionally through an animated scene. Snow White cost Disney a then-expensive sum of $1.4 million to complete, and was an unprecedented success when released in February 1938, becoming the highest-grossing film of that time. 1935-1949: Pinocchio, Fantasia & WWII Après l'immense succès de Blanche-Neige et les Sept Nains, Walt Disney commence a développer et a produire d'autres long-métrages. Le second long-métrage, Pinocchio, et le troisième, Fantasia, suivent Blanche-Neige en 1940. Une grande partie de l'animation des personnages sur ces productions et toutes les suivantes, jusqu'à la fin des années 1970, a été supervisée par un groupe d'animateurs de Walt Disney surnommé le "Nine Old Men", beaucoup d'entre eux ont aussi servi en tant que réalisateurs dans les productions Disney : Frank Thomas, Ollie Johnston, Woolie Reitherman, Les Clark, Ward Kimball, Eric Larson, John Lounsbery, Milt Kahl, and Marc Davis. The development of the feature animation department created a caste system at the Disney studio: lesser animators (and feature animators in-between assignments) were assigned to work on the short subjects, while animators higher in status at the studio worked on the features. A bitter union strike in mid-1941 resulted in an exodus of several animation professionals from the studio, from top-level animators such as Art Babbitt and Bill Tylta to artists more known for later works such as Frank Tashlin, John Hubley, Maurice Noble, and Walt Kelly. The inexpensive Dumbo was released just before the United States' entry into World War II in 1941 and became a box office success, while Bambi did not see release until mid-1942. Work on Bambi's intended follow-ups Alice in Wonderland and Peter Pan was put on hold, and the entire Disney studio instead focused on shorts, military training films, and war propaganda such as the live-action/animated feature'' Victory Through Air Power'' (1943). Beginning with Saludos Amigos in 1943, the Disney studio began producing inexpensive "package films": features made up of one or more short subjects tied together by live-action or animated framing material. Other features in this vein included The Three Caballeros (1944), Make Mine Music (1946), Song of the South (1946),'' Fun and Fancy Free'' (1947), and The Adventures of Ichabod and Mr. Toad (1949). 1950-1962 Le département d'animation a été considérablement réduit en terme d'effectif après la sortie de La Belle et la Bête en 1959 et une transition d'encrage fait-main de cellulos à la xérographie. Les 101 Daltmatiens était premier le long métrage de Disney à faire usage de la xérographie, qui a utilisé la technologie de Xerox pour aider à accélérer le temps de production. En 1962, Walt Disney a fermé courte département de l'objet de l'atelier, en concentrant son attention principalement sur la télévision et la production de longs métrages (le studio serait périodiquement des featurettes et shorts sur une base sporadique, y compris les films avec Winnie l'Ourson, Mickey Mouse, et de Roger Rabbit). 1963-1966: Mort de Walt Disney Walt Disney a produit deux longs métrages d'animation de plus au cours de cette période, Merlin l'Enchanteur (1963) et Le Livre de la Jungle (1967). Il est mort peu de temps après d'un cancer du poumon. 1967-1988: Post-Walt, Rival studios & Corporate reconstruction After Walt Disney's death in 1966, the animation department continued with the films The Aristocats (1970) and Robin Hood (1973). During the production of Robin Hood and The Rescuers (1977), the aging members of the Nine Old Men began training replacements in anticipation of retirement. Led by Eric Larson, the training program would bring artists such as Don Bluth, Glen Keane, John Musker, and Ron Clements to the forefront of the studio's talent roster. Following two films with a mix of the younger and older animators, The Rescuers (1977) and the live-action/animated'' Pete's Dragon'' (1978), 11 of the younger animators, led by Bluth, Gary Goldman, and John Pomeroy, all resigned, claiming that the Disney animation studio had lost its way. Bluth went on to found his own studio, Don Bluth Productions, which produced its first film, the mildly successful The Secret of NIMH, in 1982. Don Bluth Productions became Disney's main competitor in the animation industry during the 1980s and early 1990s. During the production of Robin Hood (1973) and The Rescuers (1977), the aging members of the Walt Disney studio's longtime core group of animators, known as the Nine Old Men, began training replacements in anticipation of retirement. In 1979, during the production of The Fox and the Hound, 11 members of the new guard of animators, led by Don Bluth, Gary Goldman, and John Pomeroy, left the Disney studio, wanting to produce movies they felt were more in line with the style and quality of movies of Disney's golden years of the 1930s and 1940s, left Disney, taking 11 Disney animators with him to start his own rival studio, Don Bluth Productions. With 17% of the animators now gone, the release of The Fox and the Hound was delayed six months to June 1981. Don Bluth Productions eventually became Disney Animation's main competitor during the 1980s and early 1990s. The remaining old guard Disney animators retired after the production of The Fox and the Hound (1981), and the new animators - including newer recruits such as John Lasseter (who joined Pixar Animation Studios after being fired from Disney in 1983) and Andreas Deja - forged ahead on their own. Walt Disney Productions underwent a major shakeup in the 1980s after narrowly escaping a hostile takeover attempt from Saul Steinberg. Michael Eisner, formerly of Paramount Pictures, became CEO in 1984, and was joined by his Paramount associate Jeffrey Katzenberg, while Frank Wells, formerly of Warner Bros., became president. After the disappointing box office performance of the 1985 PG-rated animated feature The Black Cauldron, the future of the animation department was in jeopardy. Going against a thirty year studio policy, the company founded a TV animation division, and considered shuttering its legacy animation studio. In the interest of saving what he believed to be the studio's core business, Roy E. Disney persuaded Eisner to let him supervise the animation department in the hopes of improving its fortunes. Eisner agreed, making Roy E. Disney chairman of the newly reorganized Walt Disney Feature Animation. Peter Schneider became the first president of Feature Animation at the studio. At this time, the entire animation staff was moved out of the Animation building on the Disney studio lot in Burbank, which was instead occupied by management and television production staff. The animation staff relocated to the Air Way complex, a former air hanger 20 miles away in Glendale. The next feature for the restructured WDFA team was'' The Great Mouse Detective, begun by John Musker and Ron Clements as Basil of Baker Street after both left ''The Black Cauldron production team. Released in 1986, the film was a moderate box office success. Later the same year, Universal Pictures released Don Bluth's An American Tail, which outgrossed The Great Mouse Detective at the box office and became the highest-grossing first-issue animated film to that point. Two years later, the studios released Oliver & Company and The Land Before Time on the same weekend. The Land Before Time made more cash at the box office on opening day. However, Oliver & Company beat out The Land Before Time at the domestic box office by $ 5,000,000. Earlier that same year, 1988, Disney collaborated with Steven Spielberg, a long-time animation fan, to produce'' Who Framed Roger Rabbit, a live action/animation hybrid which featured animated characters from several 1930s/1940s studios interacting with live actors. The film was a significant critical and commercial success, winning four Academy Awards and renewing interest in theatrical animated cartoons. Several WDFA members were loaned out to Richard Williams and Dale Baer's animation teams to work on ''Who Framed Roger Rabbit. 1989-1999: The Renaissance era Disney had been developing The Little Mermaid off and on as an animated property since the 1930s. By 1988, after the successes of Roger Rabbit, Oliver & Company and The Great Mouse Detective, the studio decided to make it into an animated Broadway-like musical. Lyricist Howard Ashman and composer Alan Menken, who worked on Broadway productions such as Little Shop of Horrors, wrote the songs and score for the film, with Ashman also producing and heavily involved in the story development process. The film was released on November 17, 1989 and garnered a higher weekend gross than Don Bluth's All Dogs Go to Heaven, which opened the same weekend. It went on to beat The Land Before Time's record and became the highest-grossing animated film at that time, earning $89 million at the US box office. The Little Mermaid was a critical and commercial success and received two Academy Awards, for Best Song and Best Score. ''The Rescuers Down Unde''r was released one year later (sequel to the 1977'' Rescuers''). The Rescuers Down Under was a box office disappointment, earning only $47,431,461 in total box office revenue. However, the movie was notable for its' use of Pixar's Computer Animation Producton System (better known by the acronym CAPS), and became the first movie to be 100% digitally produced. The following year, in 1991, came Beauty and the Beast, which is often considered by many to be the crown jewel of of all Disney animated films. It was the first animated film nominated for Best Picture at the Oscars, an accomplishment which has not been matched since Pixar's 2009 film Up, only to lose out to The Silence of the Lambs. However, the film won Best Picture (Musical or Comedy) at the Golden Globe Awards and won two Academy Awards for Best Original Song and Best Original Score. The film was dedicated to Howard Ashman, who died earlier in the year before the film's release due to AIDS-related illness. It became the most successful animated feature in motion picture history up to that time, with domestic box office revenues exceeding $140 million. As of 2009, ties with Disney/Pixar's WALL-E for the record of animated film with most Academy Award nominations (six). Aladdin and The Lion King followed in 1992 and 1994, respectively. Both films were highest worldwide grosses of their release year, but The Lion King became the highest-grossing animated film ever at the time and remains the highest grossing traditionally animated film in history. Along with that, the films won Academy Awards for Best Original Song and Best Original Score in the footsteps of Beauty and the Beast. Howard Ashman wrote several songs for Aladdin before his death, but only three were finally used in the film. Tim Rice joined the project and completed the score and songs with Alan Menken. Tim Rice went on to collaborate with Elton John in The Lion King. Pocahontas and The Hunchback of Notre Dame were also in the Disney Renaissance. Despite mature subjects and appealing more towards adults than children both were box-office successes and received general approval and acclaim. Pocahontas received two Academy Awards for Best Score and Best Original Song for Colors of the Wind. Both were successful with songs written by Alan Menken and Stephen Schwartz. Pocahontas was into a critical success, Hunchback was not a commercial success; Although Pocahontas was met with mixed reception, and The Hunchback of Notre Dame was met with favorable reception. Disney continued on with successes from Hercules with songs by Alan Menken and David Zippel, (Hercules was not a big success, but a moderate success) Mulan with score by Jerry Goldsmith and songs by Matthew Wilder and David Zippel, and Tarzan with songs by Phil Collins. 2000-2004: Post-Renaissance era By 2000, the Disney Renaissance had come to an end. Disney continued to release small successes such as Dinosaur, The Emperor's New Groove and Atlantis: The Lost Empire, but also suffered box office bombs with Treasure Planet and Home on the Range. The other films (Fantasia 2000, Lilo and Stitch and'' Brother Bear) received critical acclaim and were box office successes. However, the expansion coincided with a decline in both revenue and quality of the department's output. Competition from other studios drove animator salaries to a high level, making traditional animated features a costly proposition and, beginning in 2000, massive layoffs brought staff numbers down to 600. Deciding that the reason for its unsuccessful box office draw was the fact that they still used traditional animation methods in a time when Pixar Animation Studios, DreamWorks Pictures and Blue Sky Studios were producing highly-successful CGI films, Disney converted WDFA into a CGI studio, performing more layoffs and selling off its traditional animation equipment. The Paris studio was shut down in 2003 and the Orlando studio followed suit in 2004. 2005-2008: Pixar and Lasseter takes charge Despite Pixar's 2006 acquisition by Disney, Pixar and Walt Disney Animation Studios continue to maintain separate studios and release their films under separate banners, with former Pixar executives Edwin Catmull and John Lasseter serving as both studios' president and Chief Creative Officer, respectively. Both were brought in to reinvigorate the Walt Disney Animation Studios, whose prestige had been flagging over the last six films ''The Emperor's New Groove, Atlantis: The Lost Empire, Treasure Planet, Brother Bear and Home on the Range. Walt Disney Animation Studios once announced that Home on the Range would be the last 2D-traditional animated film. From Chicken Little onwards, all future Walt Disney Animation Studios films were said to be animated with CGI. This order would only be reversed five years later with the 2009 release of The Princess and the Frog. The films in between Home on the Range and The Princess and the Frog (Chicken Little, Meet the Robinsons, and Bolt) were done in CGI (mention these in order). In recent years, the Disney Studios has created computer-animated features. In 1995, Disney partnered with Pixar to create Toy Story, the first computer-animated feature. Today much of Pixar's films have garnered the same box office results and critical acclaim that 1990's Disney Renaissance films had, such as Finding Nemo and WALL-E. In 2005, Chicken Little, the Disney Studios first full CGI animated feature, received mixed reviews from critics though it performed well at the box office, as did their second CGI feature in 2007, Meet the Robinsons. In 2006, Disney purchased Pixar for US$7.4 billion, and promoted Pixar's co-founder John Lasseter to oversee all of Disney's animated projects. In 2007, the studio released the animated short How to Hook Up Your Home Theater. In 2008, Disney's first CGI feature made after the Pixar acquisition, Bolt, was released to critical acclaim and modest box office success. 2009-aujourd'hui : La nouvelle ère In late 2009 DisneyToon Studios, the former television animation satellite studio with previous operations in Australia, Paris and Burbank was rolled into Walt Disney Animation Studios as a division focussed on direct-to-video features based upon Disney Consumer Products franchises, television programs, and original properties. In March 2010, Disney released a feature length documentary called Waking Sleeping Beauty. The film chronicles the events of Disney Animation Studios during the late 1980s to mid 1990s. It features topics such as the Disney Renaissance, and it includes early footage of notables such as Tim Burton, John Lasseter, and Roy E. Disney. The following year, Disney animation released it's first hand-drawn film since 2004's La Ferme se rebelle: La Princesse et la Grenouille. The film reached critical acclaim but the box office was lower than the studio expected bringing in $267,045,057 worldwide. In 2010, the studio released Raiponce, which gained widespread positive reviews and became a box office hit. It is also the most expensive animated film ever made costing $260m, but earned over $591 million worldwide. In 2011, the studio released Winnie l'Ourson. Due to the film being released on the same date as another highly anticipated feature, the film's box office was low, however the film gained universal acclaim and became the best reviewed animated film of 2011. Along with the film, the studio released the short The Ballad of Nessie with it. On November 2, 2012, the studio would break the box-office record for the most money made on opening weekend for the entire Disney animated canon with the computer animated Wreck-It Ralph, along with the short Paperman. In April 2013, Walt Disney Animation Studios laid off fewer than 10 people out of a staff of more than 800. Because a majority of them were hand-drawn animators, there was exaggerated speculation on some animation blogs that the studio was abandoning traditional animation once again, an idea that the studio dismissed. The studio released Frozen, its 53rd full-length animated film (and the fifth in the canon to be done with CGI animation), on November 27. 2013. Frozen broke Wreck-It Ralph' record with $67.4 million on its opening weekend, $93.7 million in its first 5 days, had widespread critical acclaim, broke The Lion King original run record (not adjusted for inflation) of $312 million with $400.7 million, and was the Golden Globes winner in Best Animated Feature and won both Oscars for Best Animated Feature and Best Original Song with Let it Go. On the same day, March 2, 2014, it hit $1 billion dollars, becoming the first original animated film to do so. It went to earn $1.274 billion, with almost one-fifth ($248 million) in Japan alone, where it was #1 for 16 Weekends in a row. The 54th feature, Les Nouveaux Héros, was released on November 7, 2014, and is the first in the Canon series to use Marvel Comics characters. The film performed well with critics, and though it couldn't match up with La Reine des Neiges''s box-office performance, it still earned over $652 million ($222.5 million in the US) and won the Best Animated Feature Oscar for WDDAS for a 2nd straight year. ''Zootopie is slated to be the studio's 55th animated feature and is scheduled for release on March 4, 2016. Filmographie Performances Les studios d'animation Disney ont apporté un certain nombre d'innovations désormais standard dans l'industrie de l'animation, qui incluent : *La Caméra multiplane (créée pour Blanche-Neige, mais utilisée pour la première fois dans le court-métrage Le Vieux Moulin) *L'animation réaliste des effets spéciaux et des personnages humains (pour Blanche-Neige) *Utilisation du processus de composition avancée de combiner live-action et des éléments animés en utilisant un film de couleur (pour Les Trois Caballeros) *L'utilisation de la xérographie en animation de dessins pour transférer des cellulos, par opposition au traçage à l'encre (développée pour Les 101 Dalmatiens, testée pour la première fois dans quelques scènes de La Belle au Bois Dormant et utilisée entièrement pour la première fois dans le court-métrage Goliath II) *L'utilisation de méthodes tout-numérique pour la peinture, la composition et l'enregistrement d'animation avec le CAPS (Computer Animation Production System) *La technique pour le rendu des animations dans un style pictural (Raiponce) *Le Techical Achievement Award en 2003 pour le développement Deep Canvas (Tarzan) *La technique du mélange d'animation dessinée à la main (traditionnelle) et animation CGI avec Meander(Paperman) *Parmi les performances les plus importantes : **Le premier long-métrage d'animation utilisant Technicolor (Blanche-Neige et les Sept Nains) **La première image animée avec du son stéréo (Fantasia) **Le premier film d'animation en CinemaScope (La Belle et le Clochard) **Le premier film d'animation ayant un grand format (70 mm La Belle au Bois Dormant) **Le premier film d'animation Disney à utiliser l'imagerie générée par ordinateur (Taram et le Chaudron magique) **Le premier film d'animation Disney à combiner l'imagerie générée par ordinateur et des personnages dessinés à la main (Basil, détective privé) **Le premier film d'animation Disney faisant un usage intensif de l'animation par ordinateur (Oliver & Compagnie, CGI) **Le premier film d'animation Disney à utiliser la coloration numérique (La Petite Sirène, qui a introduit le processus CAPS de Disney) **Le premier long métrage qui est tourné en utilisant un procédé 100% numérique (Bernard et Bianca au pays des kangourous, CAPS) **Le premier long métrage d'animation à être nominé pour l'Oscar du meilleur film, et le seul candidat pour le meilleur film à être traditionnellement animé (La Belle et la Bête) **Le premier film d'animation à atteindre les 200 millions $ de production, et le film le plus cher de l'année 1992 (Aladdin) **Le plus gros succès cinématographique traditionnellement animé (Le Roi Lion) **La plus grande première pour un film avec plus de 100 000 spectateurs (Pocahontas) **La production la plus chère pour un film d'animation, pour un coût de 260 millions $ (Raiponce) **Le premier film d'animation Disney à atteindre le milliard de dollars de bénéfices à gagner l'Oscar du meilleur film d'animation (La Reine des Neiges) Productions Galerie DisneyAnimationStudiosWIRED.jpg Walt_Disney_Feature_Animation.svg|former logo Walt-Disney-Animation-Studios-Official-Website.JPG|Official website walt_disney_animation_studios_postcard_by_trinityinyang-d6u29ah.png marquee2.jpg Liens externes #Official Walt Disney Animation Studios website Catégorie:Compagnie